Drawing on the natural landscape as well as its industrial past, the new garden at Caisson House is a masterclass in modern country style
WORDS ANNIE GUILFOYLE PHOTOGRAPHS JASON INGRAM
As you wind through the narrow lanes of north Somerset, derelict bridges, aqueducts, and disused tunnels and railway lines all tell the story of the prosperous past that once reigned in these rolling hills. In the early 19th century, this area, just south of Bath, had more than 80 working collieries producing 100,000 tons of coal per annum. The coal needed to be transported efficiently to Bath and beyond, and before the train took over this role, it was done by canal.
Caisson House, nestled in the Cam valley on the outskirts of Combe Hay, played a key role in the industrial history of the Somersetshire Coal Canal Company. In 1800, the house was built as the head office for the company’s chief engineer. The name ‘Caisson’ came from a revolutionary lock design developed here, where the entire canal boat entered into a sealed, wooden box that was floated up and down in the lock. This system was supposed to displace less water and work faster than conventional locks, but the newfangled design failed and was abandoned in favour of the traditional lock. The now disused canal carves its way through the 40-acre grounds, sculpting the land and revealing no fewer than 15 locks.
Owners Amanda and Phil Honey met in London when Amanda joined Phil to grow his business, creating garden sets for the film and TV industry. After 20 years of working together, they returned to Somerset and discovered this unique property. “We fell in love with Caisson when we first laid eyes on it. Discovering the house, so near to Phil’s childhood home, felt like fate,” says Amanda. “It was run down, and the land was untamed and overgrown, yet we were drawn to the charm of the place – its decay held a certain enchantment. The place was spellbinding, romantic and filled with mystery.”
She and Phil make a good team, so taking on the management of such an enormous project was not that intimidating for them, she explains. “We had often built a forest, jungle or English garden from scratch in an empty studio in two days, so it was easy to visualise the end point before we began.” The f
